Once upon a time, there was a clever and mischievous cat named Puss. Puss was not an ordinary cat; he had the ability to talk and had a knack for getting his owner, a poor miller's son, out of trouble. One day, Puss overheard a conversation between the miller and a rich merchant. The merchant was boasting about his newest acquisition - a bag of magical beans that could grow into a beanstalk that would reach the clouds. Puss's ears perked up with excitement, knowing that this could be their ticket to a life of luxury. Puss immediately sprung into action, devising a plan to obtain the magic beans for his owner.
Moving into a small town Northern California Victorian apartment thoughtfully decked out in tarot card colors, a coolly beautiful enchantress (newcomer Samantha Robinson, simultaneously channeling Tippi Hedren and ’60s scream queen Barbara Steele) picks up where she left off back in San Francisco, making potions that turn men into smitten, needy messes.
Again using early 70s-era sexploitation flicks as her aesthetic template, filmmaker Anna Biller transforms female objectification into empowerment with her slyly campy sophomore effort, The Love Witch. Again using early 70s-era sexploitation flicks as her aesthetic template, filmmaker Anna Biller transforms female objectification into empowerment with her slyly campy sophomore effort, The Love Witch.
Puss immediately sprung into action, devising a plan to obtain the magic beans for his owner. He hatched a scheme to visit the merchant's house disguised as a beggar cat. With his sad eyes and pitiful meows, Puss successfully convinced the merchant to give him a few of the magical beans out of pity.
Review: Stylish feminism of ‘The Love Witch’ recalls ‘70s sexploitation
Again using early ’70s-era sexploitation flicks as her aesthetic template, filmmaker Anna Biller transforms female objectification into empowerment with her slyly campy sophomore effort, “The Love Witch.”
Moving into a small town Northern California Victorian apartment thoughtfully decked out in tarot card colors, a coolly beautiful enchantress (newcomer Samantha Robinson, simultaneously channeling Tippi Hedren and ’60s scream queen Barbara Steele) picks up where she left off back in San Francisco, making potions that turn men into smitten, needy messes.
They also have a habit of dying, which eventually arouses the suspicions of a square-jawed police detective (Gian Keys), who also succumbs to her persuasive charms.
AdvertisementAlthough the beguiling spell begins to wear off before reaching its full two-hour length, the film’s got style for days thanks to Biller’s affection for classic — as well as not-so-classic — cinema.
Just as she did with “Viva,” a similarly retro-kitschy portrait of a swinging ’70s housewife that featured plentiful casual nudity, Biller maintains a firm grip on every aspect of the production, from the Technicolor-saturated art direction and costume design to the old school lighting and in-camera visual effects developed by cinematographer M. David Mullen.
Meanwhile, with her frosty demeanor matching the hue of her ample eye shadow, Robinson looks like she just stepped out of “The Stepford Wives” and into Jacqueline Susann’s “The Love Machine” with her knee-high boots not missing a beat.
Neither does the genre-splicing Biller, who emerges as a feminist Russ Meyer skilled at fetishizing archetypal images of narcissism with the exacting eye of a Douglas Sirk.
‘The Love Witch’
Running time: 2 hours
Playing: Landmark Nuart Theater, West L.A.
Again using early ’70s-era sexploitation flicks as her aesthetic template, filmmaker Anna Biller transforms female objectification into empowerment with her slyly campy sophomore effort, “The Love Witch.”
Returning home, Puss presented the magic beans to his owner and explained their incredible potential. The miller's son was skeptical but trusted Puss's judgment. He planted the beans in his garden, and much to their surprise, a gigantic beanstalk grew overnight, reaching high into the sky. Curiosity getting the better of them, Puss and his owner decided to climb the beanstalk and see what lay at the top. As they ascended, they marveled at the sight of the clouds enveloping them. Eventually, they reached a magnificent castle floating in the sky. Inside the castle, they discovered an enormous ogre who possessed a vast treasure. Puss cleverly distracted the ogre while his owner swiftly filled a bag with as much gold and jewels as he could fit. Suddenly, Puss let out a loud screech, startling the ogre and giving his owner the opportunity to escape back down the beanstalk. With their stolen treasure in hand, Puss and his owner returned home, forever grateful for the magic beans that changed their lives. The miller's son was able to build a grand mansion and provide a comfortable life for himself and his beloved cat, Puss. The tale of Puss in Boots and the magic beans teaches us that with wit, bravery, and a little bit of magic, even the most humble can achieve great things. It reminds us to embrace opportunities and take risks, for you never know what adventures lie ahead..
Reviews for "The Mythology of Puss in Boots' Magic Beans"
1. Sally - 2 stars - I have to say, I was really disappointed with "Puss in Bots: Magic Beans". The acting was mediocre at best and the storyline was all over the place. The dialogue was also cringe-worthy and felt forced. The special effects were underwhelming and didn't add anything to the overall experience. Overall, I wouldn't recommend this production to anyone looking for a quality theatre experience.
2. John - 1 star - "Puss in Bots: Magic Beans" was a complete waste of time and money. The performances were lackluster and it felt like the actors were just going through the motions. The plot was weak and predictable, with no surprises or twists. The humor also fell flat, with jokes that were outdated and not funny at all. Save yourself the trouble and skip this production.
3. Lisa - 2 stars - "Puss in Bots: Magic Beans" was a huge letdown for me. The costumes and set design were amateurish and looked cheap. The songs were forgettable and didn't contribute anything to the story. The pacing was off, with scenes that dragged on and others that felt rushed. Overall, this production lacked the charm and magic that I was expecting. I would recommend looking for other options if you're considering seeing this play.